Ross Flora - The Garden (2025) Hi-Res

While not entirely an Americana-drenched musical experience, Virginia-raised & Nashville-based Ross Flora does lay out a heavy dose of American roots rock with good lyrics, tight playing, & a little vocal treatment on “Home Bound,” but nothing too irritating. Ross’s inspiring lead guitar plays with pristine clarity & while the drums (played excellently) could’ve been mixed a little more up front, the riff is spirited. Ross’ voice has a nice, authoritative delicacy. Not Jim Morrison (The Doors), or Mick Jagger (the Stones), Mr. Flora does have an aggressive approach that works well for him.

This 7-track collection is a brisk walk through The Garden & tackles themes that aren’t always the subject of mainstream songwriters. Rediscovery of things that are lost, things found again, like the child inside of us that never disappears entirely. Songs that deal with what is forgotten, & re-learned through life’s battles, little victories & second chances. Heavy-duty motifs turned sophisticated into sharp compositions.

The storyline tunes include “Small Town No More” with its near Steinbeck-Faulkner atmospheric trek. Sung with honesty that’s often found in songs by John Prine, Gordon Lightfoot & Townes van Zandt. Despite having a viable rock voice, Ross scores heavier with his balladry because his tonality has sincere pastoral DNA. An approach that is not always successfully taught by voice teachers. It has to come from within. Black musicians call it soul. You’ve heard of it.

Unearthing a more deliberate Southern rock tinge, the exceptional title track “The Garden” isn’t quite in the same skin as The Allman Brothers or Lynyrd Skynyrd. However, Ross has a more astute songwriting curve closer to the mid-west’s incredibly dramatic singer-songwriter J.D. Blackfoot (“The Ultimate Prophecy,” “Good Day Extending Company”). J.D.’s balladry & storytelling is more a cousin of the style Ross taps into. J.D.’s magnificent pipes have been performing & recording for major labels for more than 40 years.

“You & Me People” is a bit lyrically cliché-scrambled, but the bluesy showcase itself cooks nicely & the lead guitar smokes. It doesn’t overstay its welcome. Ross lays out a more Greg Allman vocal muscle & it’s more commercially viable. “Cornerstone” has the same lyrical cliché issue (lines & words we’ve heard before), but the idea behind the redemptive ballad & how it’s instrumentally conveyed is impressive.